Jazz Brass repertoire list - University of West London

LONDON COLLEGE OF MUSIC EXAMINATIONS

Jazz Brass repertoire list Jazz Trumpet, Jazz Trombone 1 January 2012 – 31 December 2015

Jazz Brass Grades Contents Page Introductory Notes ..........................................................

3

Publications ....................................................................

4

Downloads ......................................................................

4

Examination Formats ..................................................... 5 Jazz Trumpet Grade 1 Grade 2 Grade 3 Grade 4 Grade 5 Grade 6 Grade 7 Grade 8

..................................................................... ..................................................................... ..................................................................... ..................................................................... ..................................................................... ..................................................................... ..................................................................... .....................................................................

6 8 10 12 14 16 18 20

Jazz Trombone Grade 1 Grade 2 Grade 3 Grade 4 Grade 5 Grade 6 Grade 7 Grade 8

..................................................................... ..................................................................... ..................................................................... ..................................................................... ..................................................................... ..................................................................... ..................................................................... .....................................................................

22 24 26 28 30 32 34 36

Free Choice Memory Option .......................................... 38 Musical Awareness ........................................................ 39 Creative Response Test ................................................ 41 Aural Tests ..................................................................... 42

This repertoire list should be read in conjunction with the current Jazz Grades Syllabus. Copies are available free of charge via our website, www.uwl.ac.uk/lcmexams, or from the LCM Examinations office. Please refer to the Jazz Grades Syllabus for full details about graded exams, recital grades, leisure play exams and performance awards. This repertoire list is valid from 1 January 2012 until 31 December 2015.

LCM Examinations

Director of Examinations John Howard BA PhD

Chief Examiner in Music Philip Aldred BEd FLCM

LCM Examinations University of West London St Mary’s Road Ealing London W5 5RF tel: +44 (0)20 8231 2364 email: [email protected] www.uwl.ac.uk/lcmexams

© Copyright 2011 by the University of West London, LCM Examinations September 2013 edition 2

Introductory Notes 1. Pieces (Grades 1-5) At Grades 1 and 2, accuracy and a feel for the styles are the priorities. At Grades 3 and 4, performances should include an increasing amount of embellishment and fills, and show awareness of turnaround figures. Some pieces will require small elements of improvisational exploration. At Grade 5 these elements should be embraced with increasing enquiry and security.

2. Pieces requiring improvisation (Grades 6-8) Alternative editions of accepted jazz repertoire are acceptable. Pieces requiring improvisation should generally consist of the head and two improvised choruses. Backing tracks are optional. Live accompaniment is encouraged (eg. piano, keyboard, guitar, rhythm section). Creative enquiry, good use of jazz language and secure skills are important ingredients for a good performance.

3. Pieces set for more than one grade Occasionally a piece may appear at more than one grade. Where it appears at a higher grade, a greater level of creative development and skill will be expected.

4. Real Books Where reference is made to Real Books, alternative publications are acceptable (eg. legal Fakers Books, etc).

5. Aural tests Candidates may opt for the standard aural tests (as illustrated in the handbooks) or an alternative set of jazz tests, which make reference to the Rhythm and Improvisation Exercise appropriate to the grade. See pages 42-49 for full details.

6. Technical work New to this edition of the repertoire list: candidates may opt to play a study (or studies) as an alternative to scales and arpeggios.

3

Publications The following LCM Publications are relevant to this syllabus: 

LL161

Jazz Wind Handbook 1 (Grades 1-5)



LL162

Jazz Wind Handbook 2 (Grades 6-8)



LL189

Specimen Aural Tests *



LL205

LCM Aural Handbook: A Practical Guide to Teaching and Preparing for LCM Aural Tests *



LL203

Jazz Wind and Brass Backing Tracks CD

* These publications cover the ‘standard’ tests only. LCM Publications are available through music shops or direct from our distributor, Music Exchange: 

tel: 0161 946 9301



email: [email protected]

A complete list of LCM Publications may be found on www.music-exchange.co.uk

Downloads The following are available as pdf downloads from www.LCMEbooks.org: 

LL189

Specimen Aural Tests



LL282

Specimen Jazz Aural Tests



LL284

Jazz Wind Studies

Acknowledgement Grateful thanks are due to Stuart Corbett, LCM jazz syllabus compiler.

4

Examination Formats Following is an overview of the four examination formats offered by LCM Examinations: grades, recital grades, leisure play and performance awards. Refer to the relevant section of the Jazz Grades Syllabus for full details.

Grades

Recital Grades

Leisure Play

Performance Awards

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





3 pieces

4 (or 5) pieces, all selected from repertoire list

4 pieces (3 selected from repertoire list plus 1 own choice)

3 pieces

Musical Awareness



Optional for Component 2





Creative Response Test



Optional for Component 2





Aural Tests









Grades 1-8

Grades 1-8

Levels 1-8

Levels 1-8









Examination

Examination

Examination

DVD

Pass: 65-74% Merit: 75-84% Distinction: 85-100%












Technical Work

Performance

Structure

Pre-requisites

Assessment

Grading

Ofqual Accreditation

5

Jazz Trumpet: Grade 1 Component 1 - Technical Work

15 marks

Candidates should prepare Option 1 OR Option 2. [See page 4 for information about publications and downloads.]

Option 1: Scales & Arpeggios (m.m. crotchet = c. 60 when played in quavers) Ascending and descending from memory. To be prepared tongued and slurred. C major (one octave) Pentatonic scale: C major (one octave swung)

Option 2: Scale and Study C major scale (requirements as for Option 1 scales) Study – Swing Style

Component 2 - Performance

60 marks

Performance of three pieces: one piece from List A, one piece from List B, one piece from either list. At least one piece must be selected from Jazz Wind Handbook 1 (LL161). ONE piece may be a free choice, played from memory (see page 38).

LIST A Tongue Tied OR Dotty LCM Jazz Wind Handbook 1 (LCM Publications) Swing Style [if not played in Component 1] LCM Jazz Wind Studies [download] (LCM Publications) Renigator 20 Terrific Trumpet Studies (Madden) (Spartan Press) The First Run OR The Angel 24 Carat Gold (Amos) (CMA Publications) Come Along OR Sad Song 30 Modern Studies for Trumpet (Hudson) (Universal Edition) Study 5 OR 6 OR 14 60 Jazz Etudes (Winkler) (Tezak / MusT) A Small Step OR Coo’s Blues OR Ready, Aim, Fire! Easy Jazzy ‘Tudes (Nightingale) (Warwick Music) Example 8 (20 Musical Examples) How to Play Jazz and Improvise (Aebersold Vol.1) (Jazzwise) Ex.38 OR Ex.39 [tongued or slurred, candidate’s choice] [may be written out, transposed to any key which is comfortable] Patterns for Jazz (Alfred) Get the Lowdown OR Every Now and Then Razzamajazz Trumpet (Watts) (Kevin Mayhew) Keep It Simple OR Scots Mist OR Pastorale Simple Studies for Beginner Brass (Miller) (Faber) Flingaling OR Mister Freddie OR Raggerty Waltz [may be played with or without accompaniment] Smooth Groove for Trumpet (Blakeson) (Brass Wind)

LIST B Smooth Waltz LCM Jazz Wind Handbook 1 (LCM Publications) Love Me Tender Abracadabra Trumpet (Tomlinson) (A & C Black) Agadou All Jazzed Up for Trumpet (Wilson-Smith) (Brass Wind) The Old Cart-Horse Creature Comforts (Nightingale) (Warwick Music) Slippery Blues [play through twice] How to Play Jazz and Improvise (Aebersold Vol.1) (Jazzwise) Coconut Rag Microjazz Trumpet Collection Vol.2 (Norton) (Boosey & Hawkes) Rum Point OR Rumba Play It Cool: Trumpet (Rae) (Universal Edition) Mexican Hat Dance Progressive Trumpet (Gelling) (Koala Publications / Music Exchange) Jazzy Song (Level 3) [with little embellishments] OR Jazzin’ Around (Level 6) Simply Brass (Pring) (Music Box)

6

Little Brown Jug OR Woogie Boogie A Little Riff OR Oh When the Saints Offshore Take It Easy OR Apple Pie Waltz Scarborough Fair OR True Love When the Saints OR Jeepers Creepers

The Boosey Brass Method Book 1 (Boosey & Hawkes) The Jazz Method for Trumpet (O’Neill/Waterman) (Schott) Up Front Album for Trumpet Book 1 (Brass Wind) Up-Grade! Trumpet Grades 1-2 (Wedgwood) (Faber) What Else Can I Play? Trumpet Grade 1 (IMP) What Jazz ‘n’ Blues Can I Play? Trumpet Grades 1-3 (IMP)

Component 3 - Musical Awareness

7 marks

See pages 39-40.

Component 4 - Creative Response Test

10 marks

See page 41.

Component 5 - Aural Tests

8 marks

See pages 42-49.

7


15 marks


Option 1: Scales & Arpeggios (m.m. crotchet = c. 60 when played in quavers) Ascending and descending from memory. To be prepared tongued and slurred. D and Bb major (one octave) D and A melodic OR harmonic minor (candidate’s choice) (one octave) Pentatonic scales: D and Bb major (one octave swung)

Option 2: Scale and Study D minor OR A minor scale (candidate’s choice; requirements as for Option 1 scales) Study – Swing Swing


60 marks


LIST A Swing 12 OR Swing 11 LCM Jazz Wind Handbook 1 (LCM Publications) Swing Swing [if not played in Component 1] LCM Jazz Wind Studies [download] (LCM Publications) One More for the Road OR Inbetween Times 20 Terrific Trumpet Studies (Madden) (Spartan Press) Orlando Furioso OR The Moon and the Myrtle Tree 24 Carat Gold (Amos) (CMA Publications) Bluetude 30 Modern Studies for Trumpet (Hudson) (Universal Edition) Study 9 OR 10 OR 13 60 Jazz Etudes (Winkler) (Tezak / MusT) Three-Step OR The Stinger OR Big Mama Easy Jazzy ‘Tudes (Nightingale) (Warwick Music) Blues Scale Study [may be accompanied] OR Example 10 (20 Musical Examples) How to Play Jazz and Improvise (Aebersold Vol.1) (Jazzwise) Ex.60 OR Ex.61 OR Ex.62 [tongued or slurred, candidate’s choice] [may be written out, transposed to any key which is comfortable] Patterns for Jazz (Alfred) Movie Buster OR September Brown Razzamajazz Trumpet (Watts) (Kevin Mayhew) See-saw OR Pink Dream OR Supersonic Samurai OR Finger-lickin’ Good OR Tritone Simple Studies for Beginner Brass (Miller) (Faber) Brite ‘n’ Rock OR Popcorn OR American Smoothie [may be played with or without accompaniment] Smooth Groove for Trumpet (Blakeson) (Brass Wind)

LIST B Homeward Out n’ About Monkey Business Gonna Fly Now (Theme from Rocky) Hub Caps [play through twice] Moonglow Hoping Horizontal [head only]

LCM Jazz Wind Handbook 1 (LCM Publications) All Jazzed Up for Trumpet (Wilson-Smith) (Brass Wind) Creature Comforts (Nightingale) (Warwick Music) Easy Popular Movie Instrumental Solos: Trumpet (Alfred) How to Play Jazz and Improvise (Aebersold Vol.1) (Jazzwise) Jazzin’ About (Wedgwood) (Faber) Microjazz Trumpet Collection 2 (Norton) (Boosey & Hawkes) Nothin’ But Blues (Aebersold Vol.2) (Jazzwise)

8

Lazy Cat Blues OR Hard Graft Play It Cool: Trumpet (Rae) (Universal Edition) 12 Bar Blues Progressive Trumpet (Gelling) (Koala Publications / Music Exchange) F sharp Jazz Blues (Level 7) OR Flapjack (Level 8) Simply Brass (Pring) (Music Box) The Brass Rap The Boosey Brass Method Book 1 (Boosey & Hawkes) Gangsterland OR Delta City The Jazz Method for Trumpet (O’Neill/Waterman) (Schott) Beatitude [head twice] Time to Play Music: Jazz and Rock (Aebersold Vol.5) (Jazzwise) Offshore Up Front Album for Trumpet Book 1 (Brass Wind) Sassy Up Front Album for Trumpet Book 2 (Brass Wind) Don’t Sit Under the Apple Tree OR Meet the Flintstones What Else Can I Play? Trumpet Grade 2 (IMP) Sentimental Journey What Jazz ‘n’ Blues Can I Play? Trumpet Grades 1-3 (IMP)


7 marks

See pages 39-40.


10 marks

See page 41.


8 marks

See pages 42-49.

9


15 marks


Option 1: Scales & Arpeggios (m.m. crotchet = c. 60 when played in quavers) Ascending and descending from memory. To be prepared tongued and slurred. Eb and F major (one octave) E and C melodic OR harmonic minor (candidate’s choice) (one octave) Pentatonic scales: Eb major and C minor (one octave swung)

Option 2: Scale and Study Bb major scale (requirements as for Option 1 scales) Study – Fun-Key


60 marks


LIST A Move Along OR Jazzy Waltz LCM Jazz Wind Handbook 1 (LCM Publications) Fun-Key [if not played in Component 1] LCM Jazz Wind Studies [download] (LCM Publications) Searching OR Silver Riddle OR Drifting By 20 Terrific Trumpet Studies (Madden) (Spartan Press) Topsy Turvy OR Wee Wullie 24 Carat Gold (Amos) (CMA Publications) Lucky’s Blues OR Swingin’ 30 Modern Studies for Trumpet (Hudson) (Universal Edition) Study 16 OR 19 OR 20 60 Jazz Etudes (Winkler) (Tezak / MusT) Ernie’s Blues OR Skipping OR Slinky Easy Jazzy ‘Tudes (Nightingale) (Warwick Music) Example 16 (20 Musical Examples) How to Play Jazz and Improvise (Aebersold Vol.1) (Jazzwise) Latin OR A Simple Song Microjazz Trumpet Collection 2 (Norton) (Boosey & Hawkes) Ex.79 OR Ex.80 OR Ex.81 [tongued or slurred, candidate’s choice] [may be written out, transposed to any key which is comfortable] Patterns for Jazz (Alfred) Battery Square Bossa OR Bebop Longbody Razzamajazz Trumpet (Watts) (Kevin Mayhew) Cross Rhythms OR The Easy Easy Winners OR Rainy Day Simple Studies for Beginner Brass (Miller) (Faber) Punch Lines OR Wheeler Dealer OR Way Back Waltzer [may be played with or without accompaniment] Smooth Groove for Trumpet (Blakeson) (Brass Wind)

LIST B Winding Road LCM Jazz Wind Handbook 1 Waltzing with Jazz All Jazzed Up for Trumpet (Wilson-Smith) Ship of the Desert Creature Comforts (Nightingale) My Heart Stood Still [2 choruses only, with some embellishment in the 2nd chorus] East of the Sun (Aebersold Vol.71) Over The Rainbow OR Come So Far Easy Popular Movie Instrumental Solos: Trumpet La Bamba First Repertoire for Trumpet (Calland) Mexican Sunset OR Steal Away Going Solo: Trumpet (Miller)

10

(LCM Publications) (Brass Wind) (Warwick Music) (Jazzwise) (Alfred) (Faber) (Faber)

Pentatonic Blues [play through twice with fills / embellishments in the 2nd chorus] How to Play Jazz and Improvise (Aebersold Vol.1) (Jazzwise) Walk Tall Jazzin’ About (Wedgwood) (Faber) The Henley Regatta OR Go Out Shopping Master Pop Swing (van Gorp) (De Haske) Springboard OR Train Blues Microjazz Trumpet Collection 2 (Norton) (Boosey & Hawkes) Slow Blues in G [2 choruses with some embellishments in the 2nd] Nothin’ But Blues (Aebersold Vol.2) (Jazzwise) Bruno’s Tune OR Gate 24 Play It Cool: Trumpet (Rae) (Universal Edition) Do It Again OR Pennies from Heaven Play Jazztime (Faber) Easy Tiger OR Buttercup Really Easy Jazzin’ About (Wedgwood) (Faber) Rooty Tooty Simply Brass (Pring) (Music Box) The Loneliest Monk OR The Magician The Jazz Method for Trumpet (O’Neill/Waterman) (Schott) Yesterdays OR My Buddy [head only, with some embelllishments] The Real Book (European Edition) (Hal Leonard) Groovitis [head only] Time to Play Music: Jazz and Rock (Aebersold Vol.5) (Jazzwise) Pennsylvania 6-5000 What Jazz ‘n’ Blues Can I Play? Trumpet Grades 1-3 (IMP)


7 marks

See pages 39-40.


10 marks

See page 41.


8 marks

See pages 42-49.

11


15 marks


Option 1: Scales & Arpeggios (m.m. crotchet = c. 72 when played in quavers) Ascending and descending from memory. To be prepared tongued and slurred, piano and forte. A, E, F major (one octave) C# and F melodic OR harmonic minor (candidate’s choice) (one octave) Pentatonic scales: A, E, F major; F# and D minor (one octave swung) Blues scale: D (one octave swung)

Option 2: Scale and Study C minor scale (requirements as for Option 1 scales) Study – Mellow Waltz


60 marks


LIST A Heavy Funk OR Bluesy LCM Jazz Wind Handbook 1 (LCM Publications) Mellow Waltz [if not played in Component 1] LCM Jazz Wind Studies [download] (LCM Publications) Waltz 20 Dances for Trumpet (Vizzutti) (De Haske) Playing Catch-up 20 Terrific Trumpet Studies (Madden) (Spartan Press) Yarmouth Scarmouth OR Deserted Town 24 Carat Gold (Amos) (CMA Publications) Ballad for Harry James OR Anticipation 30 Modern Studies for Trumpet (Hudson) (Universal Edition) Study 17 OR 18 OR 23 60 Jazz Etudes (Winkler) (Tezak / MusT) An American Dream Bebop to Rock (Wilson) (Spartan Press) Hillbilly OR Passion Fruit Samba Easy Jazzy ‘Tudes (Nightingale) (Warwick Music) Breezy OR Trumpet Song Microjazz Trumpet Collection 2 (Norton) (Boosey & Hawkes) Ex.83 OR Ex.84 OR Ex.85 OR Ex.86 [tongued or slurred, candidate’s choice] [may be written out, transposed to any key which is comfortable] Patterns for Jazz (Alfred) Mexican Sunset OR Prairie Song Progressive Brass Studies (Miller) (Faber) The Easy Easy Winners OR Contrasts Simple Studies for Beginner Brass (Miller) (Faber) Boppin’ Tonite OR Latin Lady OR So What! [may be played with or without accompaniment] Smooth Groove for Trumpet (Blakeson) (Brass Wind)

LIST B Night Sky LCM Jazz Wind Handbook 1 Tuxedo Junction All Jazzed Up for Trumpet (Wilson-Smith) Schoolhouse Blues Blue Trumpet (Rae) Walking the Walrus Creature Comforts (Nightingale) James Bond Theme Easy Popular Movie Instrumental Solos: Trumpet The Roving Third [play through twice with fills / embellishments in the 2nd chorus] How to Play Jazz and Improvise (Aebersold Vol.1)

12

(LCM Publications) (Brass Wind) (Universal Edition) (Warwick Music) (Alfred) (Jazzwise)

Sometime Maybe OR Going Home Jazzin’ About (Wedgwood) (Faber) Any News? OR Bop! Goes the Weasel Jazzy Trumpet Book 1 (Rae) (Universal Edition) This is My Day OR Por Favor Master Pop Swing (van Gorp) (De Haske) Breezy OR Trumpet Song Microjazz Trumpet Collection 2 (Norton) (Boosey & Hawkes) Charleston Play Jazztime (Faber) Satin Doll Take Ten (Rae) (Universal Edition) Everybody Needs Somebody to Love Take the Lead: Blues Brothers (Trumpet) (Faber) Singin’ in the Rain OR In the Mood Take the Lead: Bumper Book (Trumpet) (Faber) Claret and Blue OR Red Alert The Jazz Method for Trumpet (O’Neill/Waterman) (Schott) Can’t Help Lovin’ Dat Man OR Somebody Loves Me OR Don’t Blame Me OR Rockin’ Chair OR In the Wee Small Hours of the Morning [head only, with some embellishments] The Real Book (European Edition) (Hal Leonard) Killer Pete [head plus one chorus with some fills and elements of improvisation] Time to Play Music: Jazz and Rock (Aebersold Vol.5) (Jazzwise)


7 marks

See pages 39-40.


10 marks

See page 41.


8 marks

See pages 42-49.

13


15 marks


Option 1: Scales & Arpeggios (m.m. crotchet = c. 72 when played in quavers) Ascending and descending from memory. To be prepared tongued and slurred, piano and forte. G major, G minor (two octaves); C, D, A, E, F, Bb, Eb, Ab major (one octave) A, B, F#, C#, D, C, F melodic OR harmonic minor (candidate’s choice) (one octave) Chromatic scale beginning on G (two octaves) Pentatonic scales: G major (two octaves swung), E minor (one octave swung) Blues scales: G (two octaves swung), E (one octave swung) Dominant 7th in the key of C, resolving on the tonic (two octaves swung)

Option 2: Scale and Study C Blues scale (one octave swung) Study – Changes


60 marks


LIST A Silvery OR Shift Riff LCM Jazz Wind Handbook 1 (LCM Publications) Changes [if not played in Component 1] LCM Jazz Wind Studies [download] (LCM Publications) Ballad 20 Dances for Trumpet (Vizzutti) (De Haske) Opus Blues OR In the Red 20 Terrific Trumpet Studies (Madden) (Spartan Press) Blues for Fred OR Movin’ Up 30 Modern Studies for Trumpet (Hudson) (Universal Edition) Study 33 OR 38 60 Jazz Etudes (Winkler) (Tezak / MusT) Up Beat OR Bebop Bebop to Rock (Wilson) (Spartan Press) The Turkey OR Transposition Blues Easy Jazzy ‘Tudes (Nightingale) (Warwick Music) Ex.20 (20 Musical Examples) How to Play Jazz and Improvise (Aebersold Vol.1) (Jazzwise) Ex.87 OR Ex.88 [swung] [the continuation patterns must not be written out] Patterns for Jazz (Alfred) Stealthy Living OR Alpine Waltz OR Fifths OR Easy Does It Progressive Brass Studies (Miller) (Faber) Rubic Rumba Simple Studies for Beginner Brass (Miller) (Faber) Latin Lady [may be played with or without accomp] Smooth Groove for Trumpet (Blakeson) (Brass Wind)

LIST B Southern Shuffle [with improvisation] LCM Jazz Wind Handbook 1 (LCM Publications) Sweet Georgia Brown OR Odd Job All Jazzed Up for Trumpet (Wilson-Smith) (Brass Wind) The Intruder Blue Trumpet (Rae) (Universal Edition) Penguin Parade Creature Comforts (Nightingale) (Warwick Music) One o’Clock Jump [3 choruses] OR I Wish I Knew [2 choruses, with some embellishment in the 2nd] East of the Sun (Aebersold Vol.71) (Jazzwise) Ain’t That a Kick in the Head OR Come Fly with Me Guest Spot: Rat Pack Playalong for Trumpet (Wise / Music Sales) 14

Five o’Clock Blues [play two choruses – the 2nd should be improvised] How to Play Jazz and Improvise (Aebersold Vol.1) (Jazzwise) Film ‘87 OR In the Fast Lane Jazzed Up Too (Ramskill) (Brass Wind) Hot on the Line OR Tequila Sunrise Jazzin’ About (Wedgwood) (Faber) Bb Blues OR Tootsie (F Blues) [head and 1 improvised chorus] Maiden Voyage (Aebersold Vol.54) (Jazzwise) Relaxation Master Pop Swing (van Gorp) (De Haske) Walking the Dog Microjazz Trumpet Collection 2 (Norton) (Boosey & Hawkes) Minor Blues in C [head and 1 improvised chorus] Nothin’ But Blues (Aebersold Vol.12) (Jazzwise) Someone to Watch Over Me Play Jazztime (Faber) Sophisticated Lady OR Take Five Take Ten (Rae) (Universal Edition) Gimme Some Lovin’ Take the Lead: Blues Brothers (Trumpet) (Faber) Cherry Pink and Apple Blossom White Take the Lead: Latin (Trumpet) (IMP) A Groovy Kind of Love The Boosey Brass Method Book 1 (Boosey & Hawkes) Emily’s Bop OR Destination Unknown The Jazz Method for Trumpet (O’Neill/Waterman) (Schott) Whispering OR Come Sunday OR Once in Love with Amy [head and 1 improvised chorus] The Real Book (European Edition) (Hal Leonard) Freddieish [two choruses] Time to Play Music: Jazz and Rock (Aebersold Vol.5) (Jazzwise)


7 marks

See pages 39-40.


10 marks

See page 41.


8 marks

See pages 42-49.

15


15 marks


Option 1: Scales & Arpeggios (No metronome rate is set; however, candidates should demonstrate a fluent command of the instrument.) (Ranges are at the discretion of the candidate, but credit will be given for using the indicated ranges.) Ascending and descending from memory. To be prepared tongued and slurred, piano and forte. G, Ab, A, F# major (two octaves), E, B, C#, Eb major (one octave) A and G minor (two octaves), D, C, F, E, B, F# minor (one octave) (melodic OR harmonic minors, candidate’s choice) Whole tone scale beginning on C (one octave) Blues scales: A and F# (two octaves swung), C and B (one octave swung) Dominant 7ths in the keys of C, D, B, resolving on the tonic (two octaves swung) Diminished 7th beginning on D (one octave swung) Additional chords/arpeggios: D7, Dmin7, D6, Dmin6 (one octave swung)

Option 2: Scale and Studies Whole tone scale beginning on C (requirements as for Option 1) Studies – Wholesome AND Blues Thing


60 marks

Performance of three pieces, one from List A and two from List B (Improvisations). At least one piece must be selected from Jazz Wind Handbook 2 (LL162). ONE piece may be a free choice, played from memory (see page 38).

LIST A Up Tempo Blues [with improvisation] LCM Jazz Wind Handbook 2 (LCM Publications) Wholesome OR Blues Thing [if not played in Component 1] LCM Jazz Wind Studies [download] (LCM Publications) Bossa Nova 20 Dances for Trumpet (Vizzutti) (De Haske) Dreamscape 20 Terrific Trumpet Studies (Madden) (Spartan Press) Embellishment 30 Modern Studies for Trumpet (Hudson) (Universal Edition) Study 48 OR 50 60 Jazz Etudes (Winkler) (Tezak / MusT) On Line OR Blues Boulevard Bebop to Rock (Wilson) (Spartan Press) Gatecrasher OR Ben’s Tune Blue Trumpet (Rae) (Universal Edition) Li’l Darlin’ Guest Spot: Classic Blues Playalong for Trumpet (Wise / Music Sales) Ex.99 OR Ex.100 [swung] [the continuation patterns must not be written out] Patterns for Jazz (Alfred) Rubber Lips OR Alpine Waltz Progressive Brass Studies (Miller) (Faber) Paladium [may be played with or without accomp] Smooth Groove for Trumpet (Blakeson) (Brass Wind)

LIST B (IMPROVISATIONS) Jazz Waltz Blues [composition and improv] A String of Pearls Any piece Work Song Here Comes McBride Honeysuckle Rose OR Just Squeeze Me

LCM Jazz Wind Handbook 2 Jazz Play-Along Vol.28: Big Band Era Blues in all Keys (Aebersold Vol.42) Cannonball Adderley (Aebersold Vol.13) Dave Brubeck (Aebersold Vol.105) East of the Sun (Aebersold Vol.71) 16

(LCM Publications) (Hal Leonard) (Jazzwise) (Jazzwise) (Jazzwise) (Jazzwise)

Blues in the Night Summertime OR C Jam Blues OR The Preacher

It Don’t Mean a Thing (Hampton) (Faber) Jazz Improvisation Series: Approaching the Standards Vol.1 (Hill) (IMP) Royal Garden Blues Jazz Play-Along Vol.87: Dixieland (Hal Leonard) Watermelon Man Maiden Voyage (Aebersold Vol.54) (Jazzwise) Francis’ Dream Waltz OR Swing Party Master Pop Swing (van Gorp) (De Haske) Long Meter Jazz/Rock OR Bird Blues OR Fast Blues in F Nothin’ But Blues (Aebersold Vol.2) (Jazzwise) I’m Getting Sentimental Over You Play Jazztime (Faber) Sunny OR On the Sunny Side of the Street Sugar (Aebersold Vol.49) (Jazzwise) Think OR Sweet Home Chicago (improv. on 2nd chorus) Take the Lead: Blues Brothers (Trumpet) (Faber) Little Sunflower OR Sweet Love of Mine The Jazz Method for Trumpet (O’Neill/Waterman) (Schott) 502 Blues OR Younger than Springtime OR I Ain’t Got Nobody The Real Book (European Edition) (Hal Leonard) Essence [head and 1 or 2 improvised choruses] Time to Play Music: Jazz and Rock (Aebersold Vol.5) (Jazzwise) Own composition in the style of a Blues [with improvised section]


7 marks

See pages 39-40.


10 marks

See page 41.


8 marks

See pages 42-49.

17


15 marks


Option 1: Scales & Arpeggios (No metronome rate is set; however, candidates should demonstrate a fluent command of the instrument.) (Ranges are at the discretion of the candidate, but credit will be given for using the indicated ranges.) Ascending and descending from memory. To be prepared tongued and slurred, piano and forte. G, A, Ab major (two octaves), all other majors (one octave) G, G#, A minor (two octaves), all other minors (one octave) (melodic OR harmonic minors, candidate’s choice) Whole tone scales beginning on C and C# (one octave) Chromatic scale beginning on A (two octaves) Blues scales: A and F# (two octaves swung) Dorian mode beginning on F and E (one octave swung) Dominant 7ths in the keys of D (two octaves swung) and B (one octave swung), resolving on the tonic Diminished 7th beginning on G (two octaves swung) Additional chords/arpeggios: F7, Fmin7, F6, Fmin6 (one octave swung)

Option 2: Mode and Studies Dorian mode beginning on F OR E (candidate’s choice; requirements as for Option 1) Studies – Interval Jump AND Latin Fiesta


60 marks


LIST A One Way LCM Jazz Wind Handbook 2 (LCM Publications) Interval Jump OR Latin Fiesta [if not played in Component 1] LCM Jazz Wind Studies [download] (LCM Publications) Tango 20 Dances for Trumpet (Vizzutti) (De Haske) Favouritism 20 Terrific Trumpet Studies (Madden) (Spartan Press) Modal Blues OR Laid Back Swing 24 Jazz Etudes for Trumpet (Platt) (Musicians Pubs / Studio Music) Cakewalk OR Bird House OR Duke & Billy 30 Modern Studies for Trumpet (Hudson) (Universal Edition) Preparatory Exercise No.1 (In a Swing Style) [only chords are given – improvisational fluency is required] How to Learn Tunes (Baker, Aebersold Vol.76) (Jazzwise) Fly Me to the Moon Jazz Classics (Instrumental Play-Along) (Hal Leonard) Ballad in Blue Jazz Sonata (Kershaw) (Broadbent and Dunn) Ex.123 [ascending patterns, swung] OR Ex.172 [swung] [the continuation patterns must not be written out] Patterns for Jazz (Alfred) Computer Failure Progressive Brass Studies (Miller) (Faber) Fascinating Rhythm OR Desafinado Take the Lead: Jazz (IMP)

18

LIST B (IMPROVISATIONS) Minor Groove [composition and improvisation] Ballad Blues OR Skylark Interplay

LCM Jazz Wind Handbook 2 Ballads (Aebersold Vol.32) Bill Evans (Aebersold Vol.45)

(LCM Publications) (Jazzwise) (Jazzwise)

The Very Thought of You OR What’s New Work Song Trav’lin’ Blues The Boy Next Door OR Melancholy Baby April in August OR At Twilight OR Everybody’s Song Love is Here to Stay Now’s the Time OR Perdido

Body and Soul (Aebersold Vol.41) (Jazzwise) Cannonball Adderley (Aebersold Vol.13) (Jazzwise) Dave Brubeck (Aebersold Vol.105) (Jazzwise) East of the Sun (Aebersold Vol.71) (Jazzwise) How to Learn Tunes (Baker, Aebersold Vol.76) (Jazzwise) It Don’t Mean a Thing (Hampton) (Faber) Jazz Improvisation Series: Approaching the Standards Vol.2 (Hill) (IMP) Jersey Bounce Jazz Play-Along Vol.28: Big Band Era (Hal Leonard) The Darktown Strutters’ Ball OR Ballin’ the Jack Jazz Play-Along Vol.87: Dixieland (Hal Leonard) Canteloupe Island Maiden Voyage (Aebersold Vol.54) (Jazzwise) Soultrane Soultrane: Tadd Dameron (Aebersold Vol.99) (Jazzwise) On the Street The Jazz Method for Trumpet (O’Neill/Waterman) (Schott) Lazy River OR Midnight Mood OR Groovin’ High OR Freedom Jazz Dance The Real Book (European Edition) (Hal Leonard) Modal Voyage [head and 1 or 2 improvised choruses] Time to Play Music: Jazz and Rock (Aebersold Vol.5) (Jazzwise) Own composition in the style of a Jazz Waltz [with improvised section]


7 marks

See pages 39-40.


10 marks

See page 41.


8 marks

See pages 42-49.

19


15 marks


Option 1: Scales & Arpeggios (No metronome rate is set; however, candidates should demonstrate a fluent command of the instrument.) (Ranges are at the discretion of the candidate, but credit will be given for using the indicated ranges.) Ascending and descending from memory. To be prepared tongued and slurred, piano and forte, straight and swung. All major and minor keys (within the range low F# to top C two octaves; others one octave) (melodic OR harmonic minors, candidate’s choice) Whole tone scales beginning on Bb and A (two octaves) Chromatic scale beginning on A (two octaves); Blues scales: B (two octaves) and Eb (one octave) Modes: Dorian on E and F, Lydian on E and F, Mixolydian on E and F (one octave) Dominant 7ths in all keys, resolving on the tonic (range as for scales and arpeggios) Diminished 7ths beginning on C (two octaves), C# and D (one octave) Additional chords/arpeggios: E7, E6, Emin7, Emin6 (one octave)

Option 2: Modes and Studies Mixolydian modes on E AND F (requirements as for Option 1) Studies – II-V-I (Major & Minor) AND 6/8 Ballad


60 marks

Performance of three pieces, one from List A and two from List B (Improvisations). One own choice piece may be performed in place of one of the List B Improvisations. The candidate should introduce the piece, and indicate why the piece is important in the development of jazz. Reference may be made to stylistic relevance, an iconic solo, compositional structure, why the candidate feels a connection to the piece, etc. At least one piece must be selected from Jazz Wind Handbook 2 (LL162). ONE piece may be a free choice, played from memory (see page 38).

LIST A Low Roller LCM Jazz Wind Handbook 2 II-V-I (Major & Minor) OR 6/8 Ballad [if not played in Component 1]

(LCM Publications)

LCM Jazz Wind Studies [download] (LCM Publications) Funk 20 Dances for Trumpet (Vizzutti) (De Haske) Funketude 30 Modern Studies for Trumpet (Hudson) (Universal Edition) Straight No Chaser Guest Spot: 21 Classic Hits Playalong for Trumpet (Wise / Music Sales) Harlem Nocturne OR Fever OR Swingin’ Shepherd Blues Guest Spot: Classic Blues Playalong for Trumpet (Wise / Music Sales) Preparatory Exercise No.2 (In a Latin Style) [only chords are given – improvisation fluency required] How to Learn Tunes (Baker, Aebersold Vol.76) (Jazzwise) Swing Time Jazz Sonata (Kershaw) (Broadbent and Dunn) Boblicity OR Stuff OR The Maids of Cadiz Jazz Trumpet 2 (IMP) Ex.124 OR Ex.125 OR Ex.137 OR Ex.138 [swung or straight – candidate’s choice] [the continuation patterns must not be written out] Patterns for Jazz (Alfred) Rhythmic Rondo Progressive Brass Studies (Miller) (Faber)

20

LIST B (IMPROVISATIONS) Samba Time [composition and improvisation] LCM Jazz Wind Handbook 2 Blues March OR Whisper Not OR I Remember Clifford OR Killer Joe Benny Golson (Aebersold Vol.14) The Basie Band is Back in Town Dave Brubeck (Aebersold Vol.105)

(LCM Publications) (Jazzwise) (Jazzwise)

The Second Time Around (Swing, crotchet = 126) OR East of the Sun East of the Sun (Aebersold Vol.71) (Jazzwise) Afternoon in Paris OR High Fly Groovin’ High (Aebersold Vol.43) (Jazzwise) Aulil OR 10/21/17 OR Eclipse How to Learn Tunes (Baker, Aebersold Vol.76) (Jazzwise) A creative response to Track 10: 24 Measure Song [maximum 3 choruses] How to Play Jazz and Improvise (Aebersold Vol.1) (Jazzwise) How High the Moon It Don’t Mean a Thing (Hampton) (Faber) Cottontail Jazz Improvisation Series: Approaching The Standards Vol.3 (Hill) (IMP) Opus One OR Intermission Riff Jazz Play-Along Vol.28: Big Band Era (Hal Leonard) That’s a Plenty OR Tiger Rag Jazz Play-Along Vol.87: Dixieland (Hal Leonard) Footprints OR Doxy OR Solar Flair OR Song for My Father Maiden Voyage (Aebersold Vol.54) (Jazzwise) It’s All Ours The Jazz Method for Trumpet (O’Neill/Waterman) (Schott) Peace OR I Remember Clifford OR A Night in Tunisia OR I Mean You OR Bernie’s Tune The Real Book (European Edition) (Hal Leonard) Snap, Crackle, Pop [head and 1 or 2 improvised choruses] Time to Play Music: Jazz and Rock (Aebersold Vol.5) (Jazzwise) Own composition based on II-V-I sequence [with improvised section]


7 marks

See pages 39-40.


10 marks

See page 41.


8 marks

See pages 42-49.

21

Jazz Trombone: Grade 1 Component 1 - Technical Work

15 marks


Option 1: Scales & Arpeggios (m.m. crotchet = c. 60 when played in quavers) Ascending and descending from memory. Scales to be prepared tongued and slurred, arpeggios to be prepared tongued. Bb major (one octave) Pentatonic scale: Bb major (one octave swung)

Option 2: Scale and Study C major scale (requirements as for Option 1 scales) Study – Swing Style


60 marks


LIST A Tongue Tied OR Dotty LCM Jazz Wind Handbook 1 (LCM Publications) Swing Style [if not played in Component 1] LCM Jazz Wind Studies [download] (LCM Publications) The First Run OR The Angel 24 Carat Gold (Amos) (CMA Publications) Come Along OR Sad Song 30 Modern Studies (Hudson) (Universal Edition) Study 5 OR 6 OR 14 60 Jazz Etudes (Winkler) (Tezak / MusT) A Small Step OR Coo’s Blues OR Ready, Aim, Fire! Easy Jazzy ‘Tudes (Nightingale) (Warwick Music) Down in the Valley OR Give My Regards to Broadway Easy Winners (Lawrance) (Brass Wind) Example 8 (20 Musical Examples) How to Play Jazz and Improvise (Aebersold Vol.1) (Jazzwise) Bells Melodic Studies for Trombone Book 1 (Edney) (Brass Wind) Ex.38 OR Ex.39 [tongued or slurred, candidate’s choice] [may be written out, transposed to any key which is comfortable] Patterns for Jazz (Alfred) Keep It Simple OR Scots Mist Simple Studies for Beginner Brass (Miller) (Faber) Flingaling OR Mister Freddie OR Raggerty Waltz Smooth Groove (Blakeson) (Brass Wind) There’s a Hole in My Bucket OR When the Saints Student Instrumental Course: Trombone Level 1 (Weber) (Alfred) Old Liza Jane OR Tied on the Slide Team Brass (Duckett) (IMP)

LIST B Smooth Waltz LCM Jazz Wind Handbook 1 (LCM Publications) Scarborough Fair All Jazzed Up for Trombone (Ramskill) (Brass Wind) Curtain Raiser OR Wishbone Bravo! Trombone (Barratt) (Boosey & Hawkes) The Old Cart-Horse Creature Comforts (Nightingale) (Warwick Music) Aura Lee Easy Winners for Trombone (Lawrance) (Brass Wind) Russian Song Without Words First Book of Trombone Solos (Faber) Slippery Blues [play through twice] How to Play Jazz and Improvise (Aebersold Vol.1) (Jazzwise) Trailing Trombone OR Boogie Keynotes (Brass Wind) Jazzy Song (Level 3) [add little embellishments] OR Jazzin’ Around (Level 6) Simply Brass (Pring) (Music Box) Woogie Boogie The Boosey Brass Method Book 1 (Boosey & Hawkes) 22


7 marks

See pages 39-40.


10 marks

See page 41.


8 marks

See pages 42-49.

23


15 marks


Option 1: Scales & Arpeggios (m.m. crotchet = c. 60 when played in quavers) Ascending and descending from memory. To be prepared tongued and slurred. C and Bb major (one octave) C melodic OR harmonic minor (candidate’s choice) (one octave) Pentatonic scale: C major (one octave swung)

Option 2: Scale and Study F major scale (requirements as for Option 1 scales) Study – Swing Swing


60 marks


LIST A Swing 12 OR Swing 11

LCM Jazz Wind Handbook 1 (LCM Publications) Swing Swing [if not played in Component 1] LCM Jazz Wind Studies [download] (LCM Publications) Orlando Furioso OR The Moon and the Myrtle Tree 24 Carat Gold (Amos) (CMA Publications) Bluetude 30 Modern Studies (Hudson) (Universal Edition) Study 9 OR 10 OR 13 60 Jazz Etudes (Winkler) (Tezak / MusT) Three-Step OR The Stinger OR Big Mama Easy Jazzy ‘Tudes (Nightingale) (Warwick Music) Don’t Sit Under the Apple Tree OR He’s Got the Whole World in His Hands Easy Winners (Lawrance) (Brass Wind) Example 10 (20 Musical Examples) How to Play Jazz and Improvise (Aebersold Vol.1) (Jazzwise) Ex.60 OR Ex.61 OR Ex.62 [tongued or slurred, candidate’s choice] [may be written out, transposed to any key which is comfortable] Patterns for Jazz (Alfred) Finger-lickin’ Good OR Tritone Simple Studies for Beginner Brass (Miller) (Faber) Brite ‘n’ Rock OR Popcorn OR American Smoothie Smooth Groove (Blakeson) (Brass Wind) Home on the Range OR Michael Row the Boat Ashore Student Instrumental Course: Trombone Level 1 (Weber) (Alfred) When the Saints OR Workin’ on the Railroad Team Brass (Duckett) (IMP) Postman Pat Winners Galore (Lawrance) (Brass Wind)

LIST B Homeward LCM Jazz Wind Handbook 1 (LCM Publications) Cockles and Mussels All Jazzed Up for Trombone (Ramskill) (Brass Wind) Monkey Business Creature Comforts (Nightingale) (Warwick Music) Gonna Fly Now (Theme from Rocky) OR Hedwig’s Theme Easy Popular Movie Instrumental Solos (Trombone) (Alfred) Hub Caps [play through twice] OR Pentatonic Blues How to Play Jazz and Improvise (Aebersold Vol.1) (Jazzwise) Moonglow Jazzin’ About (Wedgwood) (Faber) Straight Forward OR Shadows OR Sand Dance Keynotes (Brass Wind)

24

Horizontal [head only] F sharp Jam Blues (Level 7) OR Flapjack (Level 8) Orangutang Rag When the Saints Ballad OR Blues Beatitude [head twice] Sundance

Nothin’ But Blues (Aebersold Vol.2) (Jazzwise) Simply Brass (Pring) (Music Box) The Boosey Brass Method Book 1 (Boosey & Hawkes) The Magic Trombone (Hare) (Boosey & Hawkes) The Really Easy Trombone Book (Gout) (Faber) Time to Play Music: Jazz and Rock (Aebersold Vol.5) (Jazzwise) Up Front Album for Trombone Book 1 (Brass Wind)


7 marks

See pages 39-40.


10 marks

See page 41.


8 marks

See pages 42-49.

25


15 marks


Option 1: Scales & Arpeggios (m.m. crotchet = c. 60 when played in quavers) Ascending and descending from memory. To be prepared tongued and slurred. D and Eb major (one octave) D and C melodic OR harmonic minor (candidate’s choice) (one octave) Pentatonic scales: Eb major and C minor (one octave swung)

Option 2: Scale and Study Bb major OR G minor scale (candidate’s choice; requirements as for Option 1 scales) Study – Fun-Key


60 marks


LIST A Move Along OR Jazzy Waltz LCM Jazz Wind Handbook 1 (LCM Publications) Fun-Key [if not played in Component 1] LCM Jazz Wind Studies [download] (LCM Publications) Topsy Turvy OR Wee Wullie 24 Carat Gold (Amos) (CMA Publications) Lucky’s Blues OR Swingin’ 30 Modern Studies (Hudson) (Universal Edition) Study 16 OR 19 OR 20 60 Jazz Etudes (Winkler) (Tezak / MusT) Ernie’s Blues OR Skipping OR Slinky Easy Jazzy ‘Tudes (Nightingale) (Warwick Music) Neighbours OR Hello Dolly Easy Winners (Lawrance) (Brass Wind) American Patrol Essential Elements (Hal Leonard) Example 16 (20 Musical Examples) How to Play Jazz and Inprovise (Aebersold Vol.1) (Jazzwise) Swing Along OR Blues-Like Melodic Studies for Trombone Book 1 (Edney) (Brass Wind) Ex.79 OR Ex.80 OR Ex.81 [tongued or slurred, candidate’s choice] [may be written out, transposed to any key which is comfortable] Patterns for Jazz (Alfred) Cross Rhythms OR The Easy Easy Winners OR Rainy Day Simple Studies for Beginner Brass (Miller) (Faber) Punch Lines OR Wheeler Dealer OR Way Back Waltzer Smooth Groove (Blakeson) (Brass Wind) My Favourite Things OR Blowin’ in the Wind OR Quaver Study Team Brass (Duckett) (IMP)

LIST B Winding Road LCM Jazz Wind Handbook 1 Nobody Knows OR Swing Low Sweet Chariot A Little Light Music (Iveson) When the Saints Come Marching In All Jazzed Up for Trombone (Ramskill) Ship of the Desert Creature Comforts (Nightingale) My Heart Stood Still [2 choruses only, with some embellishment in the 2nd chorus] East of the Sun (Aebersold Vol.71)

26

(LCM Publications) (Brass Wind) (Brass Wind) (Warwick Music) (Jazzwise)

Over the Rainbow OR Come So Far Easy Popular Movie Instrumental Solos: Trombone (Alfred) Pentatonic Blues [play through twice with fills / embellishments in the 2nd chorus] How to Play Jazz and Improvise (Aebersold Vol.1) (Jazzwise) Walk Tall Jazzin’ About (Wedgwood) (Faber) The Henley Regatta OR Go Out Shopping Master Pop Swing (van Gorp) (De Haske) Slow Blues in G [2 choruses with some embellishments in the 2nd] Nothin’ But Blues (Aebersold Vol.2) (Jazzwise) Three-Quarter Blues Session Time (Wastall) (Boosey & Hawkes) Rooty Tooty Simply Brass (Pring) (Music Box) One Hand, One Heart The Magic Trombone (Hare) (Boosey & Hawkes) Yesterdays OR Yes Indeed OR Old Man from the Old Country [2 choruses with some embellishments in the 2nd] The Real Book (European Edition) (Hal Leonard) Groovitis [head only] Time to Play Music: Jazz and Rock (Aebersold Vol.5) (Jazzwise) Lydian Tower Up Front Album for Trombone Book 1 (Brass Wind)


7 marks

See pages 39-40.


10 marks

See page 41.


8 marks

See pages 42-49.

27


15 marks


Option 1: Scales & Arpeggios (m.m. crotchet = c. 72 when played in quavers) Ascending and descending from memory. To be prepared tongued and slurred, piano and forte. F major (two octaves), Eb, Ab, G major (one octave) G and F melodic OR harmonic minor (candidate’s choice) (one octave) Pentatonic scales: F major (two octaves swung), Ab major, D and F minor (one octave swung) Blues scale: D (one octave swung)

Option 2: Scale and Study Eb major scale (requirements as for Option 1) Study – Mellow Waltz


60 marks


LIST A Heavy Funk OR Bluesy LCM Jazz Wind Handbook 1 (LCM Publications) Mellow Waltz [if not played in Component 1] LCM Jazz Wind Studies [download] (LCM Publications) Yarmouth Scarmouth OR Deserted Town 24 Carat Gold (Amos) (CMA Publications) Anticipation 30 Modern Studies (Hudson) (Universal Edition) Study 17 OR 18 OR 23 60 Jazz Etudes (Winkler) (Tezak / MusT) Hillbilly OR Passion Fruit Samba Easy Jazzy ‘Tudes (Nightingale) (Warwick Music) Cagney and Lacey Easy Winners (Lawrance) (Brass Wind) Ex.20 (20 Musical Examples) How to Play Jazz and Improvise (Aebersold Vol.1) (Jazzwise) Ex.83 OR Ex.84 OR Ex.85 OR Ex.86 [tongued or slurred, candidate’s choice] [may be written out, transposed to any key which is comfortable] Patterns for Jazz (Alfred) Mexican Sunset OR Prairie Song Progressive Brass Studies (Miller) (Faber) Boppin’ Tonite OR Latin Lady OR So What! Smooth Groove (Blakeson) (Brass Wind) Sundance OR Summer Daze Up Front Album for Trombone Book 1 (Brass Wind)

LIST B Night Sky LCM Jazz Wind Handbook 1 Someone to Watch Over Me OR I’m Getting Married in the Morning A Little Light Music (Iveson) Calypso All Jazzed Up for Trombone (Ramskill) Hampton Swing Bravo! Trombone (Barratt) Walking the Walrus Creature Comforts (Nightingale) Melancholy Baby [2 choruses only, with some embellishment in the 2nd chorus] East of the Sun (Aebersold Vol.71) James Bond Theme Easy Popular Movie Instrumental Solos: Trombone The Roving Third [play through twice with fills / embellishments in the 2nd chorus] How to Play Jazz and Improvise (Aebersold Vol.1) 28

(LCM Publications) (Brass Wind) (Brass Wind) (Boosey & Hawkes) (Warwick Music) (Jazzwise) (Alfred) (Jazzwise)

Trombone Samba Keynotes (Brass Wind) This is My Day OR Por Favor Master Pop Swing (van Gorp) (De Haske) In a Flugel Mood OR Come Summer Session Time (Wastall) (Boosey & Hawkes) Tonight The Magic Trombone (Hare) (Boosey & Hawkes) Can’t Help Lovin’ Dat Man OR Somebody Loves Me OR Satin Doll [head and 1 chorus with embellishments / improv] The Real Book (European Edition) (Hal Leonard) Killer Pete [head plus 1 chorus with some fills and elements of improvisation] Time to Play Music: Jazz and Rock (Aebersold Vol.5) (Jazzwise)


7 marks

See pages 39-40.


10 marks

See page 41.


8 marks

See pages 42-49.

29


15 marks


Option 1: Scales & Arpeggios (m.m. crotchet = c. 72 when played in quavers) Ascending and descending from memory. To be prepared tongued and slurred, piano and forte. G major (two octaves), Ab, E, A major (one octave) G minor (two octaves), D, E, F# minor (one octave) (melodic OR harmonic minors, candidate’s choice) Chromatic scale beginning on D (one octave) Pentatonic scales: G major (two octaves swung), E minor (one octave swung) Blues scales: E and F# (one octave swung) Dominant 7th in the key of A, resolving on the tonic (one octave swung)

Option 2: Scale and Study C Blues scale (requirements as for Option 1 Blues scales) Study – Changes


60 marks


LIST A Silvery OR Shift Riff LCM Jazz Wind Handbook 1 Changes [if not played in Component 1] LCM Jazz Wind Studies [download] Blues for Fred OR Movin’ Up 30 Modern Studies (Hudson) Study 33 OR 38 60 Jazz Etudes (Winkler) Basie’s Blues OR Important Events Easy Jazz Conception (Snidero) The Turkey OR Transposition Blues Easy Jazzy ‘Tudes (Nightingale) James Bond Theme Easy Winners (Lawrance) Trinidad Jazzed Up Too (Parker) Ex.87 OR Ex.88 [swung] [the continuation patterns must not be written out] Patterns for Jazz Fifths OR Stealthy Living OR Easy Does It Progressive Brass Studies (Miller) Latin Lady Smooth Groove (Blakeson) West Indian Carnival OR Caribbean Dance OR Star Wars Theme Team Brass (Duckett) Moondog OR Smoochissimo The Velvet Slide (Runswick) Flintstones Theme OR In the Mood Winners Galore (Lawrance)

(LCM Publications) (LCM Publications) (Universal Edition) (Tezak / MusT) (Advance Music) (Warwick Music) (Brass Wind) (Brass Wind) (Alfred) (Faber) (Brass Wind) (IMP) (Brass Wind) (Brass Wind)

LIST B Southern Shuffle [with improvisation] LCM Jazz Wind Handbook 1 (LCM Publications) I Got Rhythm A Little Night Music (Iveson) (Brass Wind) Penguin Parade Creature Comforts (Nightingale) (Warwick Music) I Wish I Knew [head and one improvised chorus] OR Falling in Love with Love [2 choruses, with embellishment / improvisation in the 2nd chorus] East of the Sun (Aebersold Vol.71) (Jazzwise) Rough and Ready Rag OR Boogie for ‘Bone Going Solo (Gout) (Faber) 30

Five o’Clock Blues [play two choruses – the 2nd should be improvised] How to Play Jazz and Improvise (Aebersold Vol.1) (Jazzwise) Unwritten OR Move Along Instrumental Playalong: Pop Hits (Trombone) (Hal Leonard) Bb Blues OR F Blues Maiden Voyage (Aebersold Vol.54) (Jazzwise) Relaxation Master Pop Swing (van Gorp) (De Haske) Emily Movie Songs by Special Arrangement (Strommen) (IMP) Minor Blues in C [head and one improvised chorus] Nothin’ But Blues (Aebersold Vol.2) (Jazzwise) Molten Rock Session Time (Wastall) (Boosey & Hawkes) Honeysuckle Rose [with embellishments / fills] The Magic Trombone (Hare) (Boosey & Hawkes) Whispering OR Come Sunday OR Pretend [head and one improvised chorus] The Real Book (European Edition) (Hal Leonard) Freddieish [two choruses] Time to Play Music: Jazz and Rock (Aebersold Vol.5) (Jazzwise)


7 marks

See pages 39-40.


10 marks

See page 41.


8 marks

See pages 42-49.

31


15 marks


Option 1: Scales & Arpeggios (No metronome rate is set; however, candidates should demonstrate a fluent command of the instrument.) Ascending and descending from memory. To be prepared tongued and slurred, piano and forte. Ab, Gb major (two octaves), Db, Cb, E major (one octave) F, G# minor (two octaves), E, C# minor (one octave) (melodic OR harmonic minors, candidate’s choice) Whole tone scale beginning on G (two octaves) Chromatic scale beginning on Bb (one octave) Blues scales: A and F# (one octave swung), F and E (two octaves swung) Dominant 7ths in the keys of C (two octaves swung), D and B (one octave swung), resolving on the tonic Diminished 7th beginning on D (one octave swung) Additional chords/arpeggios: D7, Dmin7, D6, Dmin6 (one octave swung)

Option 2: Scale and Studies Whole tone scale beginning on G (requirements as for Option 1) Studies – Wholesome AND Blues Thing


60 marks


LIST A Up Tempo Blues [with improvisation] LCM Jazz Wind Handbook 2 (LCM Publications) Wholesome OR Blues Thing [if not played in Component 1] LCM Jazz Wind Studies [download] (LCM Publications) Embellishment OR Hear a New Story 30 Modern Studies (Hudson) (Universal Edition) Study 48 OR 50 60 Jazz Etudes (Winkler) (Tezak / MusT) Shufflin’ in F OR Bossa at Night Easy Jazz Conception (Snidero) (Advance Music) On the Off-beat Easy Jazzy ‘Tudes (Nightingale) (Warwick Music) Blues for ‘Bone Going Solo (Gout) (Faber) Green Onions Instrumental Play-Along: Soul Hits (Trombone) (Hal Leonard) I’m Gettin’ Sentimental Over You Jazzed Up Too (Parker) (Brass Wind) A Day in the Life of a Fool OR Sweet Georgia Brown Movie Songs by Special Arrangement (Strommen) (IMP) Ex.99 OR Ex.100 [swung] [the continuation patterns must not be written out] Patterns for Jazz (Alfred) Rubber Lips OR Alpine Waltz Progressive Brass Studies (Millerr) (Faber) Silicon Beat OR Black is Black Session Time (Wastall) (Boosey & Hawkes) Paladium Smooth Groove (Blakeson) (Brass Wind) The Backbone The Velvet Slide (Runswick) (Brass Wind) Time Step Time Step (Tracey) (Brass Wind)

32

LIST B (IMPROVISATIONS) Jazz Waltz Blues [composition and improvisation] Autumn Leaves OR Another You Work Song No More Blues OR Gentle Rain Honeysuckle Rose OR Just Squeeze Me

LCM Jazz Wind Handbook 2 Autumn Leaves (Aebersold Vol.44) Cannonball Adderley (Aebersold Vol.13) Darn That Dream (Aebersold Vol.89) East of the Sun (Aebersold Vol.71)

(LCM Publications) (Jazzwise) (Jazzwise) (Jazzwise) (Jazzwise)

Summertime OR C Jam Blues OR The Preacher Jazz Improvisation: Approaching the Standards Vol.1 (Hill) (IMP) String of Pearls Jazz Play-Along Vol.28: Big Band Era (Hal Leonard) Toot, Toot, Tootsie! Jazz Play-Along Vol.87: Dixieland (Hal Leonard) Watermelon Man Maiden Voyage (Aebersold Vol.54) (Jazzwise) Francis’ Dream Waltz OR Swing Party Master Pop Swing (van Gorp) (De Haske) Long-Meter Jazz/Rock OR Bird Blues OR Fast Blues in F Nothin’ But Blues (Aebersold Vol.2) (Jazzwise) Blue Room OR Oh Lady Be Good Swing Swing Swing (Aebersold Vol.39) (Jazzwise) 502 Blues OR Younger than Springtime OR Night Train OR 500 Miles High The Real Book (European Edition) (Hal Leonard) Essence [head and one or two improvised choruses] Time to Play Music: Jazz and Rock (Aebersold Vol.5) (Jazzwise) Own composition in the style of a Blues [with improvised section]


7 marks

See pages 39-40.


10 marks

See page 41.


8 marks

See pages 42-49.

33


15 marks


Option 1: Scales & Arpeggios (No metronome rate is set; however, candidates should demonstrate a fluent command of the instrument.) Ascending and descending from memory. To be prepared tongued and slurred, piano and forte. Bb, Ab, E, Gb major (two octaves), E, B major (one octave) G#, F, Bb, A, E minor (two octaves), E, F# minor (one octave) (melodic OR harmonic minors, candidate’s choice) Whole tone scales beginning on F# and G (two octaves) Chromatic scale beginning on E (two octaves) Blues scales: G and Ab (two octaves swung) Dorian mode beginning on F and E (two octaves swung) Dominant 7ths in the keys of D (two octaves swung) and B (one octave swung), resolving on the tonic Diminished 7th beginning on F# (two octaves swung) Additional chords/arpeggios: F7, Fmin7, F6, Fmin6 (one octave swung)

Option 2: Mode and Studies Dorian mode beginning on F OR E (candidate’s choice; requirements as for Option 1) Studies – Interval Jump AND Latin Fiesta


60 marks


LIST A One Way LCM Jazz Wind Handbook 2 (LCM Publications) Interval Jump OR Latin Fiesta [if not played in Component 1] LCM Jazz Wind Studies [download] (LCM Publications) Bird House OR Duke & Billy OR Cakewalk 30 Modern Studies (Hudson) (Universal Edition) Don’t it Make My Brown Eyes Blue Big Pop Instrumental Solos: Trombone (IMP / Faber) Bird’s Backyard Easy Jazz Conception (Snidero) (Advance Music) Preparatory Exercise No.1 (In a Swing Style) [only chords are given – requires improvisational fluency] How to Learn Tunes (Baker, Aebersold Vol.76) (Jazzwise) Stand by Me Instrumental Play-Along: Soul Hits (Trombone) (Hal Leonard) Fever OR Fly Me to the Moon Jazz Classics Instrumental Play-Along: Trombone (Hal Leonard) Stardust Jazzed Up Too (Parker) (Brass Wind) Ex.123 [ascending patterns, swung] OR Ex.172 [swung] [the continuation patterns must not be written out] Patterns for Jazz (Alfred) Computer Failure Progressive Brass Studies (Miller) (Faber) For the Next Time OR Slinker The Velvet Slide (Runswick) (Brass Wind) Oakham Hokum Time Step (Tracey) (Brass Wind)

34

LIST B (IMPROVISATIONS) Minor Groove [composition and improvisation] LCM Jazz Wind Handbook 2 (LCM Publications) Interplay Bill Evans (Aebersold Vol.45) (Jazzwise) Lover Come Back To Me OR The Very Thought Of You OR Teach Me Tonight Body and Soul (Aebersold Vol.41) (Jazzwise) This Can’t be Love OR Who Can I Turn To? Darn That Dream (Aebersold Vol.89) (Jazzwise) Trav’lin’ Blues Dave Brubeck (Aebersold Vol.105) (Jazzwise) The Boy Next Door OR Melancholy Baby East of the Sun (Aebersold Vol.71) (Jazzwise) April in August OR At Twilight OR Everybody’s Song How to Learn Tunes (Baker, Aebersold Vol.76) (Jazzwise) Now’s the Time OR Honeysuckle OR Perdido Jazz Improvisation Series: Approaching the Standards Vol.2 (Hill) (IMP) Jersey Bounce Jazz Play-Along Vol.28: Big Band Era (Hal Leonard) Doxy Maiden Voyage (Aebersold Vol.54) (Jazzwise) Lazy River OR Midnight Mood OR On a Slow Boat to China OR Sister Sadie The Real Book (European Edition) (Hal Leonard) Modal Voyage [head and 1 or 2 improvised choruses] Time to Play Music: Jazz and Rock (Aebersold Vol.5) (Jazzwise) Own composition in the style of a Jazz Waltz [with improvised section]


7 marks

See pages 39-40.


10 marks

See page 41.


8 marks

See pages 42-49.

35


15 marks


Option 1: Scales & Arpeggios (No metronome rate is set; however, candidates should demonstrate a fluent command of the instrument.) Ascending and descending from memory. To be prepared tongued and slurred, piano and forte, straight and swung. B, C, Eb, D, Db major (one octave), all other majors (two octaves) B, C, Eb, D, Db minor (one octave), all other minors (two octaves) (melodic OR harmonic minors, candidate’s choice) Whole tone scales beginning on F# and G (two octaves) Chromatic scale beginning on F (two octaves) Blues scales: G and C (two octaves) Modes: Dorian on E and F, Lydian on E and F, Mixolydian on E and F (one octave) Dominant 7ths in all keys, resolving on the tonic (range as for scales and arpeggios) Diminished 7ths beginning on E, F, F# (two octaves) Additional chords/arpeggios: E7, E6, Emin7, Emin6 (one octave)

Option 2: Modes and Studies Mixolydian modes on E AND F (requirements as for Option 1) Studies – II-V-I (Major & Minor) AND 6/8 Ballad


60 marks

Performance of three pieces, one from List A and two from List B (Improvisations). One own choice piece may be performed in place of one of the List B Improvisations. The candidate should introduce the piece, and indicate why the piece is important in the development of jazz. Reference may be made to stylistic relevance, an iconic solo, compositional structure, why the candidate feels a connection to the piece, etc. At least one piece must be selected from Jazz Wind Handbook 2 (LL162). ONE piece may be a free choice, played from memory (see page 38).

LIST A Low Roller LCM Jazz Wind Handbook 2 II-V-I (Major & Minor) OR 6/8 Ballad [if not played in Component 1]

(LCM Publications)

LCM Jazz Wind Studies [download] (LCM Publications) Funketude 30 Modern Studies (Hudson) (Universal Edition) Wind Beneath My Wings Big Pop Instrumental Solos: Trombone (IMP / Faber) Us Easy Jazz Conception (Snidero) (Advance Music) A Foggy Day OR Fascinating Rhythm OR Nice Work If You Can Get It Gershwin by Special Arrangement: Trombone (Strommen) (IMP / Faber) Preparatory Exercise No.2 (In a Latin Style) [only chords are given – requires improvisational fluency] How to Learn Tunes (Baker, Aebersold Vol.76) (Jazzwise) Bone Shaker Jazzed Up Too (Parker) (Brass Wind) Ex.124 OR Ex.125 OR Ex.137 OR Ex.138 [swung or straight – candidate’s choice] [the continuation patterns must not be written out] Patterns for Jazz (Alfred) Rhythmic Rondo Progressive Brass Studies (Miller) (Faber) Dip ‘n’ Dive Time Step (Tracey) (Brass Wind)

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LIST B (IMPROVISATIONS) Samba Time [composition and improvisation] LCM Jazz Wind Handbook 2 (LCM Publications) Blues March OR Whisper Not OR I Remember Clifford Benny Golson (Aebersold Vol.14) (Jazzwise) I’m Getting Sentimental over You Collectors’ Items (Aebersold Vol.52) (Jazzwise) The Things We Did Last Summer OR I Can’t Give You Anything but Love Darn That Dream (Aebersold Vol.89) (Jazzwise) The Basie Band is Back in Town Dave Brubeck (Aebersold Vol.105) (Jazzwise) The Second Time Around (Swing, crotchet = 126) OR East of the Sun East of the Sun (Aebersold Vol.71) (Jazzwise) Aulil OR 10/21/17 OR Eclipse How to Learn Tunes (Baker, Aebersold Vol.76) (Jazzwise) Killer Joe OR Take the ‘A’ Train OR Cottontail Jazz Improvisation Series: Approaching the Standards Vol.3 (Hill) (IMP) Opus One OR Intermission Riff Jazz Play-Along Vol.28: Big Band Era (Hal Leonard) In a Mellow Tone OR Moondance OR Stormy Weather Jazztastic (Intermediate Level) (IMP) Here’s That Rainy Day OR I Remember Clifford OR Peace OR Blue Monk OR The Song is You OR Misty The Real Book (European Edition) (Hal Leonard) Snap, Crackle, Pop [head and 1 or 2 improvised choruses] Time to Play Music: Jazz and Rock (Aebersold Vol.5) (Jazzwise) Own composition based on II-V-I sequence [with improvised section]


7 marks

See pages 39-40.


10 marks

See page 41.


8 marks

See pages 42-49.

37

Free Choice Memory Option Jazz musicians often have a number of pieces that they play from memory. A good bank of memorised pieces contributes to enjoyment, confidence and creativity when playing in a group or in a jam session. In the jazz examinations from Grade 1 to Grade 8, candidates may opt to offer ONE piece as a free choice, to be played from memory. This option offers an opportunity to develop skills important to the jazz musician and to explore pieces which you enjoy – pieces which interest and enthuse you. Through the grades, increasing levels of technical expertise, interpretation, sophistication and improvisational creativity will be assessed. The following guidelines may help your choice: Grades 1 to 3: A short piece or song which lends itself to a ‘jazz feel’ – perhaps a nursery rhyme (eg. ‘Merrily We Roll Along’) or a well-known jazz theme (eg. ‘When the Saints’, ‘C-Jam Blues’, ‘Frankie and Johnny’). Gospel pieces or some hymns also sometimes lend themselves to jazz interpretation (eg. ‘Amazing Grace’). Grades 4 and 5: You may wish to explore more repertoire and styles, perhaps including Blues numbers and standards. You may wish to select a piece which was appropriate in earlier grades. The skill and creativity levels should be more sophisticated in quality. Grades 6 to 8: Increasing levels of improvisation and stylistic authenticity and/or personalisation will be expected. You may wish to explore pieces and solos which have become iconic in the jazz world. Miles Davis pieces offer brass players great opportunities for expressive and creative playing. If the piece chosen appears elsewhere in the repertoire at the same grade, the piece may only be played once. Candidates may be accompanied, or the piece may be played solo. If the piece is accompanied (eg. by piano, guitar, rhythm section or backing track), ensemble awareness can be assessed alongside solo skills and creativity.

38

Musical Awareness Notes: 1.

All questions and answers are verbal. Candidates are not expected to demonstrate on their instrument or to sing; but they may choose to do so if they feel that this would clarify their answer.

2.

There is no set form of words, or number of questions. Examiners are encouraged to conduct the tests in a flexible and conversational manner. The number of questions asked, and the content of the questions, may differ from candidate to candidate. However, the prime focus will always be the music performed in the Performance section of the exam.

3.

The knowledge required is cumulative for Grades 1-8; ie. any knowledge required in earlier grades is required for later grades.

4.

Although accuracy and appropriateness of response are the principal criteria of assessment, examiners will also look for articulacy, use of correct terminology, and a sense of engagement with, and understanding of, the music performed.

Requirements: GRADES 1 AND 2 Candidates should be able to:  name, and explain the meaning of, all basic notational elements in the music performed in the Performance component of the exam, including: staff, bars and bar-lines, clefs, pitches of individual notes, rhythmic values of notes and rests (including dotted notes), key and time signatures, accidentals, dynamics, articulation markings, phrases, ornaments, and any additional markings;  explain which is their favourite piece and why;  assign simple descriptive words to pieces to describe their mood (‘happy’, ‘sad’, ‘bouncy’, ‘jazzy’, ‘gentle’, etc.);

GRADE 3 In addition to the requirements for Grades 1 and 2, candidates may be asked to:  identify intervals up to and including a fifth by numerical value only (eg. ‘second’, ‘fourth’, etc.);  demonstrate an understanding of basic chord symbols;  describe the mood or character of pieces using appropriate descriptive terminology (‘fast and lively’, ‘gentle and flowing’, ‘like a dance’, etc.);  identify contrasts of mood within pieces;  discuss any pictorial or descriptive element of the music;

GRADE 4 In addition to the requirements for Grades 1-3, candidates may be asked to:  identify intervals up to and including an octave by numerical value only (eg. ‘fourth’, ‘seventh’, etc.);  demonstrate basic knowledge of composers and/or famous performers of the music performed, including their nationality and approximate dates;  discuss their approaches to learning the pieces, and to identify any particular difficulties (musical or technical) which were encountered;

GRADE 5 In addition to the requirements for Grades 1-4, candidates may be asked to:  identify intervals up to and including an octave by number and type (eg. ‘Major 2nd’, ‘Perfect 4th’, etc.);  demonstrate knowledge of basic formal structures (eg. contrasting or repeated sections);  identify principal modulations (by naming the new key or its relationship to the home key);  identify major and minor chords as occurring in the music (either as chords or as melodic patterns);  demonstrate knowledge of pentatonic and blues scale structures; 39

GRADE 6 In addition to the requirements for Grades 1-5, candidates may be asked to:  demonstrate knowledge of blues structures, chord structures, and modes in the major scale;  demonstrate stylistic understanding and awareness;  respond to questions on musical influences;  discuss their personal responses to the music performed: the extent to which they like or dislike it, or find it challenging or rewarding, and why;  approaches to learning the music, including the use of certain techniques, and aspects of interpretation;  demonstrate a self-critical awareness of their own performance, indicating to the examiner which aspects of their performance they were happy or unhappy with, and why.

GRADE 7 In addition to the requirements for Grades 1-6, candidates may be asked to:  demonstrate knowledge of II-V-I patterns (G, C and F majors only) and the circle of fifths;  give basic biographical information about the composers and/or famous performers of the music performed;  demonstrate awareness of the historical and stylistic context of the music;  demonstrate a widening musical awareness a little beyond the music performed.

GRADE 8 In addition to the requirements for Grades 1-7, candidates may be asked to:  demonstrate knowledge of tritone substitutions, sus chords and turnarounds;  identify other pieces by the same composers;  identify any interval by number and type;  discuss with the examiner a range of issues arising from the music performed, demonstrating evidence of a rounded musical awareness, in terms both of the repertoire itself, and the candidate's response to it as a performer.

40

Creative Response Test This section of the examination will test the candidate’s ability to develop improvised phrasing at sight. Approximately one minute will be allowed to study the test, during which time the candidate may try the test if they wish.

Examples are provided in Jazz Wind Handbook 1 (LL161) and Jazz Wind Handbook 2 (LL162).

GRADE 1  The piece will consist of four bars in C major.  Bars 1 and 2 will be written out.  The candidate is required to play the opening phrase and a response phrase.

GRADE 2  The piece will consist of four bars in G major.  Bars 1 and 2 will be written out.  The candidate is required to play the opening phrase and a response phrase.

GRADE 3  The piece will consist of eight bars in F major, in a ‘swing’ style.  Bars 1, 2, 5 and 6 will be given.  Development will be required in bars 3, 4, 7 and 8.

GRADE 4  The piece will consist of eight bars in D major or B minor, in a ‘swing’ or ‘straight’ style.  The first four bars will be given.

GRADE 5  The piece will consist of eight bars in Bb major or G minor, in a ‘swing’ or ‘straight’ style.  The first four bars will be given.

GRADE 6  The piece will consist of eight bars, up to 3 sharps or 3 flats, in a ‘swing’ or ‘straight’ style.  Two bars will be given, plus chord indications.  Blues scales, pentatonic scales and modes related to the Technical Work could be applied in the piece.

GRADE 7  The piece will consist of eight bars, up to 4 sharps or 4 flats, in a ‘swing’ or ‘straight’ style.  Two bars will be given, plus chord indications.  Blues scales, pentatonic scales and modes related to the Technical Work could be applied in the piece.

GRADE 8  The piece will consist of up to 12 bars, up to 5 sharps or 5 flats, in a ‘swing’ or ‘straight’ style.  The first 2 bars will be given, and chord indications will be provided over the remainder of the piece. 41

Aural Tests Candidates may opt to do the standard aural tests (as illustrated in the Handbooks) or an alternative set of jazz tests, which make reference to the Rhythm and Improvisation Exercise appropriate to the grade. Examiners will ask the candidate which set they are doing by referring to them as ‘standard’ or ‘jazz’.

Specimen tests (‘standard’ version) can be found in Jazz Wind Handbook 1 (LL161) / Jazz Wind Handbook 2 (LL162) and Specimen Aural Tests (LL189). Specimen tests (‘jazz’ and ‘standard’ versions) are available as downloads from www.LCMEbooks.org.

Notes: 1.

GRADE 1 TEST 1(b); GRADE 3 TEST 2(b) (Standard): where a candidate wishes to respond to either of these tests in the alternative manner as specified, the examiner must be informed in advance of the tests being administered. This may be done either via the Centre representative or attendant on the day (in advance of the examination), or by the candidate (in the examination, in advance of the tests).

2.

In tests where the identification of note values (rhythmic values) is required, such as Grade 2 (Standard), test 1(c), candidates are required to respond by listing the rhythmic values in order, e.g. 'minim, crotchet, crotchet' or 'minim, four quavers'.

3.

In tests where a sung response is required, candidates may use any clear and appropriate syllable or vowel sound (e.g. 'ah', 'la', 'oo', etc.). They may also hum or whistle. Candidates may request tests to be transposed if required by their vocal range. Candidates may play back such tests on their instrument if they prefer; in this case, examiners must be informed prior to the administration of the tests (see Note 1 above).

4.

In tests where responses describing pitch are required, candidates may use letter-names (A, B, C, etc.), tonic sol-fa (doh, re mi, etc.), or number (1, 2, 3, etc., or 1st, 2nd, 3rd, etc.). (Where a minor key is used, it will be assumed that doh=tonic.)

5.

Please note that from Grade 2 onwards, candidates are required to beat time (i.e. conduct), NOT to tap or clap the pulse. They may join in during the initial playing, or a second playing may be given.

6.

Candidates may request any test to be given one repeat playing without loss of marks.

7.

Please note that in all cases, examiners will use a piano to conduct the tests. Examiners will ask candidates to stand or sit in such a position that they cannot see the piano keyboard.

8.

Please note that the printed wording is a guide only. Examiners are encouraged to conduct the tests in a conversational manner.

Requirements: Standard Aural Tests

GRADE 1 (STANDARD) Rhythm

1 (a) 1 (b)

A short harmonised passage, of approximately 6-8 bars in length, will be played. The passage will be in either 2/4 or 3/4 time. Candidates will be asked to: identify the time signature as “2” or “3” time (2 marks). clap or tap on each pulse beat, in time, in 2 or 3 time, accenting the first beat of each bar, as the examiner plays the passage again (2 marks). Candidates may elect to respond to tests 1(a) and 1(b) in reverse order. In this case, the examiner should be informed in advance of the tests being administered (see Note 1 above).

Pitch 2 (a)

2 (b)

2 (c)

Two notes of different pitches will be played, one after the other. Candidates will be asked to: identify as “first” or “second” which of the two notes is EITHER the higher OR the lower, at the examiner's discretion (1 mark). The two notes will be played again. Candidates will be asked to: sing back one of the two notes (EITHER the first OR the second, at the examiner's discretion) (1 mark). The key-chord of a major key will be played, followed by a short unharmonised melody in the same key, of approximately 4 bars in length. The examiner will stop playing before the final (tonic) note. The candidate will be asked to: sing clearly the missing final tonic (2 marks). 42

GRADE 2 (STANDARD) Rhythm A short harmonised passage, of approximately 8 bars in length, will be played. The passage will be in either 3/4 or 4/4 time. Candidates will be asked to: 1 (a)

identify the time signature as "3" or "4" time (1 mark).

1 (b)

beat (conduct) time, with a clear beat-shape (conducting pattern), in time with the examiner’s playing, as the examiner plays the passage again (1 mark). The examiner will select one bar from the passage, and will play it in an unharmonised version. Candidates will be asked to:

1 (c)

identify and describe the note values (rhythmic values of the notes) in the bar (2 marks).

Pitch A major or minor triad will be played, followed by one note taken from the triad. Candidates will be asked to: 2 (a)

identify the note as “bottom, middle or top” OR “Doh, Mi or Soh” OR “root, 3rd or 5th” (candidate's choice) (1 mark). The triad will be played again. Candidates will be asked to:

2 (b)

state if the triad is major or minor (1 mark). The key-chord of a major key (C, F, G, and D majors only) will be played, and the key stated, followed by the first five notes of the scale in ascending order. The examiner will then play any ONE of these notes again. Candidates will be asked to:

2 (c)

identify the note, EITHER by letter name OR by tonic sol-fa name OR by number (1, 2, 3, 4 or 5) as elected by the candidate (1 mark). The test will be repeated, using a different example (1 mark).

GRADE 3 (STANDARD) Rhythm A short harmonised passage, of approximately 8 bars in length, will be played. The passage will be in 6/8 time. Candidates will be asked to: 1 (a)

beat (conduct) time, with a clear beat-shape (conducting pattern), 2 beats in the bar (NOT 6 beats in the bar), in time with the examiner’s playing, as the examiner plays the passage again (1 mark). The candidate will be shown three lines of music (marked 1, 2 and 3), each of which will contain four individual bars of music in 6/8 time (marked a, b, c and d). The examiner will indicate which line of music is being used. One of the bars on that line will be played, twice. Candidates will be asked to:

1 (b)

indicate which bar (a, b, c or d) has been played (1 mark). The test will be repeated, using a different example (1 mark).

Pitch An interval will be played twice, once with the pitches sounded successively, and once with the pitches sounded together. The intervals will be restricted to the following: Major 2nd, Major 3rd, Perfect 4th, Perfect 5th. Candidates will be asked to: 2 (a)

identify the interval, by numerical value only (2nd, 3rd, 4th, 5th) (1 mark). The test will be repeated, using a different interval (1 mark). The key-chord of a major or minor key (C, G, D, F and Bb majors; A and E minors only) will be played, and the key stated. A short unharmonised melody, in the same key, of approximately 3 bars in length, will be played, twice. Rhythms will be limited to crotchets, quavers, minims, dotted minims and semibreves. Candidates will be asked to:

2 (b)

sing back the melody (3 marks). Candidates may elect to respond to test 2(b) by playing the melody on their instrument, instead of singing. In this case, the examiner should be informed in advance of the tests being administered (see Note 1 above).

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GRADE 4 (STANDARD) Rhythm A short harmonised passage, of approximately 8 bars in length, will be played. The passage will be in either 2/4, 3/4, 4/4 or 6/8 time. Candidates will be asked to: 1 (a)

beat (conduct) time, with a correct and clear beat shape (conducting pattern) according to the time signature of the music, in time with the examiner's playing, as the examiner plays the passage again. (Passages in 6/8 time should be conducted with a 2-beat pattern). (2 marks). A short phrase, of approximately 2 bars in length, taken from the passage, will be played in an unharmonised version, twice. The phrase will include no rhythmic values shorter than a semiquaver, but may include simple dotted patterns. Candidates will be asked to:

1 (b)

clap or tap back the rhythm of the phrase (2 marks).

Pitch An interval will be played twice, once with the pitches sounded successively, and once with the pitches sounded together. The interval will be restricted to any major, minor or perfect interval up to and including an octave. Candidates will be asked to: 2 (a)

identify the interval, by numerical value and type (1 mark). The test will be repeated, using a different interval (1 mark). The candidate will be shown three similar versions of a short melody (marked 1, 2 and 3). The versions will differ in pitch, but not in rhythm. One of the versions will be played, twice. Candidates will be asked to:

2 (b)

identify which version was played (2 marks).

GRADE 5 (STANDARD) Rhythm A short harmonised passage, of approximately 8 bars in length, will be played. The passage will be in either 2/4, 3/4, 4/4, 6/8 or 6/4 time. Candidates will be asked to: 1 (a)

beat (conduct) time, with a correct and clear beat shape (conducting pattern) according to the time signature of the music, in time with the examiner's playing, as the examiner plays the passage again. (Passages in 6/8 or 6/4 time should be conducted with a 2-beat or 6-beat pattern as appropriate). (2 marks). A short phrase, of approximately 2 bars in length, taken from the passage, will be played in an unharmonised version, twice. Candidates will be asked to:

1 (b)

identify and describe the note values (rhythmic values of the notes) in the phrase (2 marks).

Pitch An interval will be played twice, with the pitches sounded together. The interval may be any major, minor or perfect interval within the octave, as well as the augmented 4th / diminished 5th. Candidates will be asked to: 2 (a)

identify the interval, by type and numerical value (1 mark). The test will be repeated, using a different interval (1 mark). The key-chord of a major key will be sounded. A short melody in the same key, of approximately 2 bars in length, will be played, finishing with a harmonised cadence (perfect, imperfect, plagal, or interrupted) in the home key. Candidates will be asked to:

2 (b)

identify the cadence, either by its conventional name, or as “finished” (perfect and plagal) or “unfinished” (imperfect or interrupted) (1 mark). The test will be repeated, using a different example (1 mark).

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GRADE 6 (STANDARD) Rhythm and Pitch A harmonised passage, in simple time, of not more than six bars in length, and containing some syncopated patterns, will be played, twice. Candidates will be asked to: 1 (a)

identify the time signature (1 mark).

1 (b)

identify whether the passage is in a major or minor key (1 mark).

1 (c)

identify, by number and type, any interval within the octave, occurring in the melody-line between two succeeding notes. These pitches will be played again, first as occurring in the melody, and then with the pitches sounded together (1 mark). A short phrase from the passage, of 1-2 bars in length, will be played again in an unharmonised version. Candidates will be asked to:

1 (d)

clap or tap back the rhythm of the phrase (1 mark).

1 (e)

identify and describe the note values (rhythmic values) in the phrase (2 marks).

Pitch The key-chord of a major key will be sounded. A short melody in the same key, of approximately 2 bars in length, will be played, finishing with a harmonised cadence (perfect, imperfect, or interrupted) in the home key. Candidates will be asked to: 2 (a)

identify the cadence by its conventional name (1 mark). The key-chord of a major key will be sounded, and the key named. A short harmonised passage in the same key, of approximately 4 bars in length, will be played. The passage will contain one modulation to a related key (dominant, subdominant, or relative minor), finishing with a perfect cadence in that key. Candidates will be asked to:

2 (b)

identify the key into which the passage has modulated, either by name or by relationship to the home key (candidate's choice) (1 mark).

GRADE 7 (STANDARD) 1 (a)

A harmonised passage of approximately 12 to 16 bars in length, in either simple or compound time, will be played, once. Candidates will be asked a selection of the following:    

1 (b)

The candidate will be given a copy of the score, without phrasing, tempo, articulation, or dynamic markings. The passage will be played once again in full; further shorter sections may also be played again. Candidates will be asked a selection of the following:         

2

to identify the time signature to identify whether the passage is in a major or minor key to describe the overall dynamics to describe the basic overall form (this will be limited to AB, ABA, AAB, ABAB, AABA) (2 marks).

to suggest an appropriate tempo marking to describe changes in tempo to name the key to describe phrasing patterns to describe dynamics to describe articulation to identify modulations to identify ornaments to confirm their description of the form (4 marks).

The key-chord of a major or minor key will be sounded. A short harmonised passage in the same key, of approximately 2 bars in length, will be played, finishing with a harmonised cadence (perfect, imperfect, plagal, or interrupted) in the home key. Candidates will be asked to: identify the cadence by its conventional name (1 mark). The test will be repeated, using a different example (1 mark).

45

GRADE 8 (STANDARD) 1

A harmonised passage of approximately 12 to 16 bars in length, in either simple or compound time, will be played, once. Candidates will be asked a selection of the following:        

2

to identify the time signature; to identify whether the passage is in a major or minor key; to suggest an appropriate tempo marking; to describe and identify any particularly noticeable aspects of the dynamics, phrasing, articulation, modulation, ornamentation, texture, etc. (examiners may play certain extracts from the passage again); to suggest a musical style (Renaissance, Baroque, Classical, Romantic, Twentieth Century or Modern, Jazz / Popular); to identify any interval in the melodic line between two successive notes, up to and including a Major 10th (the two pitches will be played again, as occurring in the melody); to clap back, or identify and describe the note values (rhythmic values) of, a short phrase of 1-2 bars in duration, taken from the passage and played again in an unharmonised version; to identify a cadence, taken from the passage, played again by the examiner (4 marks).

The candidate will be given a copy of the score, without phrasing, tempo, articulation, or dynamic markings. The passage will be played once again in full; further shorter sections, of up to 4 bars in length, may also be played again, sometimes with changes in phrasing, tempo, articulation and/or dynamics. Candidates will be asked a selection of the following:    

to name the key to identify modulations to identify ornaments to describe the overall form (in addition to those specified for Grade 7, these may include ABCA, ABCBA, AA'BA, ABA'B, and similar structures, as well as more organic forms, or forms based on imitative or fugal structures);  to identify simple melodic, rhythmic or harmonic devices, such as sequence, inversion, repetition, pedal points, augmentation / diminution, motivic development, etc.  to identify changes in phrasing, tempo, articulation and/or dynamics, in short passages, of up to 2 bars in length, played in two different styles by the examiner (4 marks).

Requirements: Jazz Aural Tests

GRADE 1 (JAZZ) Rhythm Candidates should refer to Rhythm & Improvisation Exercise No.1: Four in a Bar on page 15 of Jazz Wind Handbook 1. The examiner will count in and play a short piece, with emphasis on beats 1 & 3 (‘down beat’) or beats 2 & 4 (‘back beat’). Candidates will be asked to: 1

identify the piece as ‘down beat’ or ‘back beat’ (2 marks).

Pitch The examiner will play a note (C, F or G), followed by the note a major 3rd or a perfect 5th above. The candidate will be asked to: 2 (a)

identify the note by name or by interval number (2 marks). The examiner will play the note C, or another suitable note. The candidate will be asked to:

2 (b)

sing a major 3rd or perfect 5th above, as requested by the examiner (2 marks). Two notes of different pitches will be played, one after the other. Candidates will be asked to:

2 (c)

identify as “first” or “second” which of the two notes is EITHER the higher OR the lower, at the examiner's discretion (1 mark). The two notes will be played again. Candidates will be asked to:

2 (d)

sing back one of the two notes (EITHER the first OR the second, at the examiner’s discretion) (1 mark).

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GRADE 2 (JAZZ) Rhythm

1 (a) 1 (b)

Candidates should refer to Rhythm & Improvisation Exercise No.2: Swing on pages 24-25 of Jazz Wind Handbook 1. The examiner will play, on one note, either Example A, Example B or Example C (page 25), twice. Candidates will be asked to: identify which example was played (2 marks). clap the first two bars of the example, followed by a two-bar improvised response in a swing style (2 marks).

Pitch 2 (a)

2 (b)

2 (c)

A major or minor triad will be played, followed by one note taken from the triad. Candidates will be asked to: identify the note as “bottom, middle or top” OR “Doh, Mi or Soh” OR “root, 3rd or 5th” (candidate's choice) (1 mark). The triad will be played again. Candidates will be asked to: state if the triad is major or minor (1 mark). The key-chord of a major key (C, F, G, and D majors only) will be played, and the key stated, followed by the first five notes of the scale in ascending order. The examiner will then play any ONE of these notes again. Candidates will be asked to: identify the note, EITHER by letter name OR by tonic sol-fa name OR by number (1, 2, 3, 4 or 5) as elected by the candidate (1 mark). The test will be repeated, using a different example (1 mark).


1 (a) 1 (b) 1 (c)

Candidates should refer to Rhythm & Improvisation Exercise No.3: Syncopation on pages 38-39 of Jazz Wind Handbook 1. The examiner will play, on one note, either example (a), example (b) or the example indicated as ‘a slightly more complicated rhythm’. Candidates will be asked to: identify which example was played (2 marks). clap one of the other two patterns, as selected by the examiner (2 marks). The examiner will play, on one note, one of the examples listed above. Candidates will be asked to: sing or play an improvised phrase following the rhythmic pattern of the example (2 marks).

Pitch

2

An interval will be played twice, once with the pitches sounded successively, and once with the pitches sounded together. The intervals will be restricted to the following: Major 2nd, Major 3rd, Perfect 4th, Perfect 5th. Candidates will be asked to: identify the interval, by numerical value only (2nd, 3rd, 4th, 5th) (1 mark). The test will be repeated, using a different interval (1 mark).


1 (a) 1 (b) 1 (c)

Candidates should refer to Rhythm & Improvisation Exercise No.4: Rock on page 51 of Jazz Wind Handbook 1. The examiner will play, on one note, one of Examples 1, 2, 3 and 4. Candidates will be asked to: identify which example was played (2 marks). clap one of the four exercises, as selected by the examiner (2 marks). sing or play an improvised phrase using the rhythmic pattern of one of the four exercises, as selected by the examiner (2 marks).

Pitch

2

An interval will be played twice, once with the pitches sounded successively, and once with the pitches sounded together. The interval will be restricted to any major, minor or perfect interval up to and including an octave. Candidates will be asked to: identify the interval, by numerical value and type (1 mark). The test will be repeated, using a different interval (1 mark). 47


1 (a)

1 (b)

Candidates should refer to Rhythm & Improvisation Exercise No.5: Latin on pages 63-64 of Jazz Wind Handbook 1. Candidates will be asked to: tap (one hand upper pattern, one hand lower pattern) either the Samba, Bossa Nova or Beguine example, as selected by the examiner; this may be read from the book (2 marks). The examiner will count in and clap the upper pattern of two bars (twice), taken from either the Samba, Bossa Nova, Beguine, Mambo or Rumba (or Bolero) examples. Candidates will be asked to: identify the note and rest time values. Terminology such as half note, quarter note, etc. is acceptable. Candidates may not look at the music for this test. Only the first two bars are used for this test (2 marks).

Pitch

2 (a)

2 (b)

An interval will be played twice, with the pitches sounded together. The interval may be any major, minor or perfect interval within the octave, as well as the augmented 4th / diminished 5th. Candidates will be asked to: identify the interval, by type and numerical value (1 mark). The test will be repeated, using a different interval (1 mark). The key-chord of a major key will be sounded. A short melody in the same key, of approximately 2 bars in length, will be played, finishing with a harmonised cadence (perfect, imperfect, plagal, or interrupted) in the home key. Candidates will be asked to: identify the cadence, either by its conventional name, or as “finished” (perfect and plagal) or “unfinished” (imperfect or interrupted) (1 mark). The test will be repeated, using a different example (1 mark).

GRADE 6 (JAZZ)

1

2 (a)

2 (b)

Candidates should refer to the section Modes on pages 4-5 of Jazz Wind Handbook 2. The examiner will play the note C, followed by one of the following modes, played twice: Ionian, Dorian, Mixolydian or Aeolian. Candidates will be asked to: identify which mode was played (3 marks). Candidates should refer to the section The Blues on pages 6-7 of Jazz Wind Handbook 2. The examiner will play the root note followed by any other note of the blues scale of the following construction (based on C): C - Eb - F - F#/Gb - G - Bb - C. Any root note may be used. The notes will be sounded successively and then together. Candidates will be asked to: identify the interval between the two notes (3 marks). The key-chord of a major key will be sounded. A short melody in the same key, of approximately 2 bars in length, will be played, finishing with a harmonised cadence (perfect, imperfect, or interrupted) in the home key. Candidates will be asked to: identify the cadence by its conventional name (1 mark). The test will be repeated, using a different example (1 mark).

GRADE 7 (JAZZ)

1

2 3

4

Candidates should refer to the section II-V-I Sequences on pages 20-21 of Jazz Wind Handbook 2. The examiner will play a major chord on any note, naming the tonic. The examiner will then play either the Minor II7 chord or the V7 chord. Candidates will be asked to: identify whether it is the Minor II7 chord or the V7 chord, and name the notes in the chord (3 marks). The examiner will play either a Dominant 7th chord, a Major 7th chord or a Minor 7th chord. Candidates will be asked to: identify the chord type (2 marks). The examiner will name the root note. Candidates will be asked to: identify the other notes in the chord (1 mark). The key-chord of a major or minor key will be sounded. A short harmonised passage in the same key, of approximately 2 bars in length, will be played, finishing with a harmonised cadence (perfect, imperfect, plagal, or interrupted) in the home key. Candidates will be asked to: identify the cadence by its conventional name (1 mark). The test will be repeated, using a different example (1 mark). 48

GRADE 8 (JAZZ) Candidates should refer to the sections Tritone Substitutions and Sus Chords on page 43 of Jazz Wind Handbook 2. The examiner will play a tonic chord, followed by a tritone substitution or a sus chord. Candidates will be asked to: 1

identify whether it is a tritone substitution or a sus chord (2 marks). The examiner will play a major tonic chord, followed by one of the following modes: Aeolian, Dorian or Mixolydian. The mode will start on an appropriate note above the tonic chord. Candidates will be asked to:

2 (a)

name which mode was played (1 mark).

2 (b)

describe the interval spelling of the mode (eg. Aeolian is T-ST-T-T-ST-T-T) (1 mark).

3

The examiner will play a piece of music in a contemporary or jazz style. The candidate will be given a copy of the score, without phrasing, tempo, articulation, or dynamic markings. Candidates will be asked a selection of the following:  to name the key;  to identify modulations;  to identify intervals, including compound intervals;  to describe the overall form. These may include ABCA, ABCBA, AABA, ABAB and similar structures;  to identify changes in style, phrasing, tempo, articulation and/or dynamics, in short passages, of up to 2 bars in length, played by the examiner (4 marks).

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